Filmmakers from M to O

List of filmmakers organised by last name from M to O


  • Christopher McLaine

    Christopher MacLaine (born in 1923 in Oklahoma, USA and died in 1975 in California, USA) was an American director, writer and cinematographer. As a director, he filmed four shorts: Beat (1958), The Man Who Invented Gold (1957), Scotch Hop (1953), The End (1953); and also served as the writer and cinematographer for ‘The Man Who Invented Gold’.

    MacLaine graduated from U.C.- Berkeley in 1946 and after graduating, became one of the most influential Californian Beat poets. He founded a literary magazine and published several small books before 1960.

  • Lionel Fox Magal

    Lionel “ fox ” Magal est musicien, cinéaste, homme de radio, nomade, passeur et conteur. Il participe entre autre à la fondation de radio Nova en 1981. Il est le cofondateur en 1968, avec son frère Thierry Magal, du Crium Delirium Circus, un groupe artistique polyvalent d’action et d’intervention.

  • Anne Maregiano

    Anne Maregiano is a director who, before directing her first short film of 26 minutes 'Timor Lorosae, Long Journey to Freedom' was a production assistant for musical documentary films for five years in Australia on the referendum of August 1999 for the independence of East Timor.

    After returning home, she trained in documentary filmmaking at Ateliers Varan, where she directed 'The Asso', which was featured in Creteil Women Film Festival in 2001.

    Maregiano attended a concert at the Louvre Charlemagne Palestine, a New York musician from the minimalist movement of the 70s, then decided to make her first feature documentary about the original artist. Her feature documentary 'Charlemagne Palestine, the Golden Sound' was shown for the first time in Paris in June 2001.

    At the same time, she directed several short documentary films: The Art of Learning in 2003, where she filmed young adolescents for a few months at an art school in the United States. Her other films: 'Jonas Adolfas, Pola, Journey to Paris' (2004) dedicated to three great experimental filmmakers, 'The City in 2030?' And 'Urban Water' in 2007/2009 devoted to workshop Urban Design for the Ile-de-France Regional Council and INHA, 10 years already 'in 2011 for the National Institute of History of Art', 'Another blow' in 2012 for the Federation of Houses Youth and Culture in the Ile-de-France, 'My crocodile' in 2013 to the Association Relais Enfants-Parents Lyon.

    For seven years, she has filmed and made commissioned films on architecture, urbanism or art history.

    Her latest project is a sound portrait workshop and audiovisual at the Maison des Aveugles in Lyon.

  • Chris Marker

    Chris Marker (born on July 29th, 1921 in Neuilly-sur-Seine and died on July 29th, 2012 in Paris) was a filmmaker, writer, illustrator, translator, photographer, editor, philosopher, essayist, critic, poet and producer. His most well known works are: La Jetée (1962), A Grin Without a Cat (1977), Sans Soleil (1983) and AK (1985), a film essay on the Japanese filmmaker Akira Kurosawa. His most notable works are his documentaries, defined according to André Bazin as cinematographic essays.

    That being said, Chris Marker was not one to work alone and he collaborated with filmmakers, actors, artists and even workers: Costa-Gavras, Yves Montand, Alain Resnais, Yannick Bellon, Alexandre Medvedkine, Jorge Semprun, Benigno Cacérès, Thoma Vuille, Mario Ruspoli, Joris Ivens, Haroun Tazieff, William Klein, Mario Marret, Akira Kurosawa, Patricio Guzman… He was an avid supporter of the Kourtrajmé and Islid Le Besco collective, in which he witnesses a “new new wave”.

    All along his career, Marker was extremely interested in observing history and its complexities, observing it with a discerning, ironic, amused and occasionally infuriated eye. The topics of memory and nostalgia of reinvented past times but forever lost are at the heart of his reflections.

    Alain Resnais, one of Marker’s dear friends and collaborators defined him as, ‘the prototype of the twenty-first century man.’ The film theorist Roy Armes said Marker was ‘unclassifiable because he is unique… The French Cinema has its dramatists and its poets, its technicians, and its autobiographers, but only has one trust essayist: Chris Marker.’

  • Stéphane Marti

    Stéphane Marti (born January 7, 1951 in Algiers) is a filmmaker, visual artist and teacher as well as a user of Super 8, which he has practiced for 70 years and does everything for it survive the digital age. He studied under Dominique Neguez, an advocate and theoretician of experimental film, Michel Journiac, a major protagonist of the Body art and Andrew Almuro, a composer of electroacoustic music.

    From 1985 to 2007, he worked at the Faculty of Arts and Sciences of Art from the University of Paris 1 Sorbonne and shared his experience to new generations of filmmakers in workshops. Moreover, he organizes several screenings of films from his workshops, "the Smarti Brigades".

    In his films, Marti works around issues of the body, the sacred, of gender identity disorder and strategies of desire.

    Attached immediately by critics at the "School of the body" cinema revolves primarily around issues of the body and the sacred, of gender identity disorder and strategies of desire. Always chiseling his films by the super 8 that combines visual splendor with artistic and against-cultural independence, he designed a operatic esthetics of the intimacy, whose mannerist decadence, the telluric forces, the splendor rituals, golds and purples forge baroque and flamboyant coordinated its "small theaters of the body".

    Meanwhile, he engages in other practices such as painting, photography, installation, projection environments and shapes Totems facts assemblies, photomontages and objects from his own films and create, their combination, endless narratives, torn, fragmented as we know them in his films.

    Since, in particular, The City of nine gates (Grand different cinema award and award of criticism in Hyères festival in 1977), his film work has been shown in a large number of festivals and national and international events (in Montreal , New York, London, Tokyo, etc.) and generated numerous articles and interviews.

  • Alain Mazars

    After a Masters Degree in Mathematics, a degree in Psychology and studying Chinese, Alain Mazars, born in Paris in 1955, went as a volunteer teacher to the People 's Republic of China in 1978-1979. He directed fiction movies there (BEYOND THE MEMORY, LOST SPRING, MY CHINESE SISTER, HALF OF THE SKY) as well as several experimental films (MEMORIES OF SPRING IN LIAO NING, THE GARDEN OF THE AGES) and documentary films (LHASSA, THE PAVILION OF PEONIES, CHINA AND REALITY). As a film-maker and member of « LA CASA DE VELAZQUEZ » (The House of Velazquez) in Madrid, from 1984 to 1986, he shot medium-lenght films in that country (ACTUS, RODAMORFOSIS). He received the "Georges Wildenstein » award in 1986, the "Leonard da Vinci » award in 1989" and the "Villa Medicis Hors Les Murs » award in 1994, from the French Department of Foreign Affairs . He was part of the film-making department at the FEMIS, the prestigious French school of cinema. He is one of the founding members of the A.C.I.D (agency for the distribution of independent movies). Since 2002, he 's been directing movies mainly in South-East Asia, Laos (PHIPOP, LIFELINES) and Burma (THE SCHOOL OF THE FOREST, ON THE ROAD TO MANDALAY, BURMESE DAYS, A WORLD FAR AWAY) in particular. He also makes documentary films on Cinema (THE STRANGE CASE OF ATOM EGOYAN, TOD BROWNING, DOUGLAS SIRK).

  • Babara Meter

    Barbara Meter is a Dutch filmmaker who completed her studies at the Dutch Film Academy in 1963 and received an MA Film and video at the London School of Printing in 1995. In the early 1970s, Meter co-founded the Electric Cinema, a citadel of Dutch experimental cinema. She has made a number of experimental films, as well as feature films and documentaries. Besides filmmaking, she has worked as a curator of films programs, a teacher and free-lance lecturer on film.

  • Adolfas Mekas

    Adolfas Mekas (born on September 30th 1924 in Semeniskiai, Lithuania and died on May 31st 2011 in Poughkeepsie, New York) was a Lithuanian filmmaker, writer, director, editor, actor, educator and mentor. Adolfas Mekas collaborated with his brother Jonas Mekas to establish the seminal magazine Film Culture, and the Film-Maker’s Cooperative. He was associated with George Maciunas as well as the Fluxus art movement. His short films incorporate a comic and anarchic spirit, highlighted in his feature ‘Hallelujah the Hills’ (1963), which was featured at the Cannes Film Festival and is now classified as an American classic. Adolfas Mekas played a key role in the experimental film society, the ‘New American Cinema’ in the 1960s.

  • Jonas Mekas

    Jonas Mekas (1922-2019) was a Lithuanian-American filmmaker, poet and artist who has often been called "the godfather of American avant-garde cinema." His work has been exhibited in museums and festivals worldwide.  He was co-founder of the Anthology Film Archives in New York City.

  • Bill Morrison

    Bill Morrison (born on November 17th, 1965 in Chicago) is a New York based filmmaker and artist. From 1983 to 1985, Morrison attended Reed College and graduated from Cooper Union School of Art in 1989. His films incorporate rare archival material, are set to contemporary music and have been screened in theatres, cinemas, museums, galleries, and concert halls around the world.

    Morrison worked at the New York Museum of Modern Art between October 2014 and March 2015. He is a fellow of the John Simon Guggenheim Memorial Foundation, received the Alpert Awards in the Arts, a grant from the National Endowment for the Arts, Creative Capital, and a fellowship from the Foundation for Contemporary Arts. Furthermore, his theatrical project design with Ridge Theatre was awarded with two Bessie Awards and an Obie Award.

    Morrison has collaborated with a multitude of influential composers and performers of our time, such as: John Adams, Maya Beiser, Gavin Bryars, Dave Douglas, Richard Einhorn, Erik Friedlander, Bill Frisell, Philip Glass, Michael Gordon, Henryk Gorecki, Michael Harrison, Ted Hearne, Vijay Iyer, Johann Johannsson, Kronos Quartet, David Lang, David T. Little, Michael Montes, Harry Partch, Steve Reich, Todd Reynolds, Aleksandra Vrebalov, and Julia Wolfe, to name a few.

    In 2002, Morrison collaborated with composer Michael Gordon to make ‘Decasia’, a feature-length which was selected by the Library of Congress to its National Film Registry in 2013. The two men’s feature-length was the first film of the 21st century to be selected to the list, earning it recognition from individuals, such as J. Hoberman, the film critic who said it was “the most widely acclaimed American avant-garde film of the fin-de-siècle”. The filmmaker Errol Morris also hailed their creation and deemed it as maybe being “the greatest movie ever made.” Basel Sinfonietta commissioned the film and it was to be shown on three screens surrounding the audience, with 55 musicians performing Michael Gordon’s score.

    After his success with ‘Decasia’, Morrison collaborated with composer/trumpeter Dave Douglas and made ‘Spark of Being’. Following the film’s release, they were awarded with the Douglas Edwards Experimental/Independent Film/Video Award at the 2011 Los Angeles Film Critics Association Awards.

    His film ‘The Great Flood’ was the product of one of his latest collaborations in 2014 with composer/guitarist Bill Frisell, leading him to receive the Smithsonian Magazine’s American Ingenuity Award for Historical Scholarship.


    François Miron (born on September 20th, 1962 in Montréal, Quebec, Canada) is a director, cinematographer and producer. Miron began his filmmaking career in 1982, when he worked exclusively with emulsion in which the body of his work consisted of several short experimental films, all made using a powerful film image manipulation technique that he has mastered: optical printing. In 1990, he received an MFA in filmmaking from The School of The Art Institute of Chicago as well as a full merit scholarship. His films have been screened in festivals, venues and various other locations throughout the world. His works have received numerous awards and underground acclaim. A part from his success as a filmmaker, Miron has also created and shot music videos, photography and since 1993, has been teaching optical printing, filmmaking, and technical aspects of films at the Mel Hoppenheim School of Cinema in Montreal. He completed the production of ‘The 4th Life’ in 2007, a 35mm feature film written with James Galwey. A year later, he was awarded with the Juno Award for his photographic work for the band Arcade Fire and the album cover of their Neon Bible CD; the images for the album were extracted from images that he shot in 16mm B/W and color reversal film. The same year, he won the Prix at la création artistique from the Conseil des arts et des lettres du Québec for his film ‘Hymn to Pan’. Most recently, Miron completed his documentary on the Avant-garde filmmaker Paul Sharits and had it premiered at the 44th Rotterdam International Film Festival late January 2015.

  • Solomon Nagler

    Solomon Nagler is a Canadian director, producer and writer, best known for ‘Black Salt Water Elegy’ (2010), Cinemas (2014) and ‘J.’ (2009). Nagler received his BA with an honours in Philosophy from the University of Winnipeg and his MFA in Film Production from Concordia University. His films have been shown across Canada, the United States, Europe and Asia at venues, such as: Centre Pompidou in Paris, L’Université Paris Panthéon Sorbonne and the Lincoln Center in New York. His work has been featured at a variety of different locations, including: Retrospectives at the Winnipeg Cinematheque in August of 2004, at the Excentris Cinema in Montreal in August of 2007, the Festival Du Cinéma Différent in Paris in December 2005 and 2007, The Calgary Society of Independent Filmmakers and The Canadian Film Institute in 2009.

  • Werner Nekes

    Nekes Werner (born on April 29th, 1944 in Erfurt, Germany) is a German director and collector. Nekes studied linguistics and psychology at Freiburg. He began his film career in 1964 in Bonn and is part of the University Film Club and is chair at FIAG. Following this early career, he developed friendships with several filmmakers, sculptors and painters. After meeting with Dore O., both started collaborating since 1967. In 1965, he began painting and using various materials and objects, he then makes films in 8 mm and 16 mm.

    Nekes aims to release the film from narration and its psychologizing goal to then make it while respecting the structural system and the temporal criteria. The Oberhausen Kurzfilmtage rejects his films in the spring of 1967, which pushes him to organize an event. The same year, Nekes arrives in Hamburg with Dore O. and the couple get married the following month.

    Today, he is co-founder of the cooperative of filmmakers of Hamburg and is one of the organizers of the "Hamburger Filmschau". From 1973, he traveled around the world to participate in seminars on the theories of movies or retrospectives. He moved to Mulheim in 1978.

    He is also the co-founder of Filmbüro NW (1980) and the ICNC (International Center for New Cinema) in Riga in 1988. His works have been exhibited in major museums and festivals, including the Museum of Modern Art in New York and Documenta Kassel.

    In parallel, he exercises his teaching profession: from 1969 to 1972 and from 2004 to 2006 at the Academy of Fine Arts (Hochschule für Künste Bildende) in Hamburg from 1981 to 1982 at the University of Wuppertal, from 1982 to 1984 at the Kunsthochschule Offenbach and from 1990 to 1996 at the Academy of Media Arts Cologne. He has brought together in a large private collection artifacts that represent 500 years of pre-cinematographic experiments and has documented the progress of the early history of cinema, focusing particularly on the principles of spatial and temporal representations.

  • Gunvor Nelson

    Gunvor Nelson (born in 1931 in Stockholm, Sweden) is a Swedish director, cinematographer and writer who is currently residing in Kristinehamn, Sweden. She has worked since the 1960s as an experimental filmmaker. Her mostly well-known works date from when she lived in the Bay Area in the mid-1960s and early 1970s. At this time, Nelson, became a well established artist in the avant-garde film circle of the times and even today. As of 2006, she has created twenty films, five videos and one video installation.

    Nelson received a Master of Arts degree from Mills College in Oakland, California. She taught at the San Francisco Art Institute from 1970 to 1992 and then moved to Sweden in 1993. She spent a year at the San Francisco State University from 1969 to 1970 and a semester at the School of the Art Institute of Chicago in 1987. Her works have been exhibited at a number of different European and North American festivals, one-woman shows and she has received many awards and grants Guggenheim Fellowship, two National Endowment for the Arts grants, Rockefeller Foundation grant. Her films were shown in the underground world of film on both the West and East Coast of the United States, until the mid 70s when she gained recognition from Playboy editors to Pauline Kael. Her film ‘Take-Off’, a satire on the performance of the striptease is partly responsible for this recognition.

    In her work Nelson focuses on themes of childhood, memory, home/homeland, displacement, aging, death and the force of nature- usually interlacing female beauty and power.

    Her editing is remarkable for its dreamlike imagery and her close attention to the effects of language and sound on moving images, serving to improve the aesthetic of her experimental works. Many of Nelson’s films are seen as being “personal” rather than “experimental” or “avant-garde”.

  • Annabel Nicolson

    Born 1946. Studied at Hornsey College of Art, 1964-65; Edinburgh School of Art, Drawing and Painting 1965-69 and St Martins School of Art post graduate film-making 1970-1. From 1969-70 she ran the gallery at the New Arts Lab, London and was cinema programmer at the London Film Maker's Co-op in 1974, 1976-77 and 1992/3. Nicolson is a founder member of Circles - Women's Film in Distribution, 1979, Editorial contributor for Musics magazine 1976-79, co-editor and publisher, Readings magazine 1977. She was awarded the John Brinkley Fellowship at Norwich School of Art, 1980-81. She has been a part-time and visiting lecturer at art colleges including; Cheltenham, Chelsea, Falmouth, Ravensbourne, Glasgow, Wolverhampton and St Martins, London.

    Her film works and performances have been seen at museums and galleries nationally and internationally and her artworks have been widely exhibited, from the London Film-makers Co-op and the Acme Gallery, London to the Stedelijk, Amsterdam and the Museum of Modern Art, Vienna. Her work is in the collection of the Belgian National Film Archive, British Film Institute, Canterbury University, Women Artists' Slide Library, her artists book 'Escaping Notice' is the collection of Victoria and Albert Museum.

  • Vivian Ostrovsky

    Vivian Ostrovsky (born on November 17th 1945 in New York, United States) is an experimental filmmaker and curator. Despite being born in New York, Ostrovsky spent most of her childhood in Rio de Janeiro, Brazil and did her secondary studies there. She then pursued her studies in psychology and film at the Sorbonne University in Paris. She began working for Ciné-Femmes, a group which fought for feminism and its recognition. In 1980, she became a filmmaker and abandoned her career as an activist. She organized  a number of festivals, one of them being Jerusalem.

    Ostrovsky’s films explore the theme of transit and she situates herself after French filmmaker and critic, Yann Beauvais between the “journall film” and the “collage film”.

  • Etienne O'Leary

    Etienne O’Leary (born on October 24th in Montréal, Canada and died on October 17th, 2011 in Montréal, Québec, Canada) was an actor, director and cinematographer. His most known works are ‘Chromo sud’ (1968), ‘Day Tripper’ (1966) and ‘Champs Elysées’ (1966).

  • Pat O'Neill

    Pat O’Neill (born in 1939 in Los Angeles, California) is an American independent experimental filmmaker and cinematographer who has also worked in the special effects industry. Despite working with an extremely wide technical and aesthetic scope, O’Neill is mostly known for his unique film compositions which intertwine surrealism and humour, all while mastering the optical printer. His works explore the complex clashes between the natural world and human civilization. A part from filmmaking, he has also worked with drawing, collage, sculpture, installation and other artistic mediums

    Some of his early 16mm films include ‘Runs Good’ (1970), and ‘Down Wind’ (1973). He later made 35 mm films, such as: ‘Water and Power’ (1989), ‘Trouble In The Image’ (1996), and ‘The Decay of Fiction’ (2002). His film ‘Water and Power’ was added to the National Film Registry in 2008.

    O’Neill’s films are exhibited in a number of different archives and museums around the world. His complete collection can be found at the Academy of Motion Picture Arts and Sciences Film Archive, where many of his shorts have been preserved.

    He has taught at the California Institute of the Arts and influenced many CalArts students, including: Adam Beckett, Robert Blalack, Chris Casady, and Larry Cubas, who then worked on the special effects of the original Star Wars.

  • Taylor Mead

    Taylor Mead was an American writer, actor and performer. Mead appeared in several of Andy Warhol's underground films filmed at Warhol's Factory, as well as in works by Ron Rice, Adolfas Mekas Robert Downey

    Born in Detroit, Michigan and raised by divorced parents mostly in the wealthy suburb of Grosse Pointe, he appeared in Ron Rice's beat classic The Flower Thief (1960), in which he "traipses with an elfin glee through a lost San Francisco of smoke-stuffed North Beach cafes.. ." Film critic P. Adams Sitney called The Flower Thief "the purest expression of the Beat sensibility in cinema." Village Voice film critic J. Hoberman called Mead "the first underground movie star."

    In 1967 Taylor Mead played a part in the surrealistic play Desire Caught by the Tail by Pablo Picasso when it was set for the first time in France at a festival in Saint-Tropez, among others with Ultra Violet.

    In the mid-1970s, Gary Weis made some short films of Mead talking to his cat in the kitchen of his Ludlow Street apartment on Manhattan's Lower East Side called Taylor Mead's Cat. One film of Mead extemporizing on the virtues of constant television watching aired during the second season of Saturday Night Live.

    In 1995 Mead spent eight hours a day for a week at the Bon Temps bar, New Orleans, being documented in the photobooth costumed as a series of Warholian characters for Blake Nelson Boyd's documentary Photobooth Trilogy. Characters included Superman and Mickey Mouse from Warhol's Myth series and references to Mead's performances in Lonesome Cowboys and Nude Restaurant.

    While living on Ludlow Street, Mead read his poetry regularly at The Bowery Poetry Club. His First book of poems "Taylor Mead on Amphetamines and in Europe" was written in 1968. His last book of poems is called A Simple Country Girl. He was the subject of a documentary entitled Excavating Taylor Mead, by Jim Jarmusch which debuted at the Tribeca Film Festival in 2005. The film shows him engaging in his nightly habit of feeding stray cats in an East Village cemetery after bar-hopping, and features a cameo by Jim Jarmusch, in which Jarmusch explains that once, when Mead went to Europe, he enlisted Jarmusch's brother to feed the cemetery cats in Mead's absence.

    Mead appeared in the final segment of Jarmusch's 2003 film Coffee and Cigarettes. He has been "a beloved icon of the downtown New York art scene since the 60s.


  • Guy Maddin
  • Marie Menken

    Marie Menken is a lyrical poet. The structure of Menken's filmic sentences, her movements, and her rhythms are those of poetry. She transposes reality into poetry. It's through poetry that Menken reveals to us the subtle aspects of reality, the mysteries of the world and the mysteries of her own soul. Menken sings. Her lens is focused on the physical world, but she sees it through a poetic temperament and with an intensified sensitivity. She catches the bits and fragments of the world around her and organizes them into aesthetic unities which communicate to us. Her filmic language and her imagery are crisp, clear, wondrous. There are moments in Arabesque and in Notebook that are among the most inspired sentences in filmic poetry. Jonas Mekas 

    Her hand-held camera directly capturing external light shaped into representational images on film is, at the same time, recording her whole body’s reaction to what she is seeing through that camera. She always tended, when taking pictures, to dance and, when editing those film strips, then, to capture the eye’s dance (rather than, say, some idealized stance-dance of the ‘mind’s eye’). She would hang up the strips and film and study the patterns, right, left, up, down, and splice them together as designs in Time—plenty of ideas arising in these arrangements of rhythmic Form, but no superimposed ideology. Stan Brakhage 

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